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Indian M&E industry can reach $100 billion by 2030: K Madhavan
Mumbai: The Indian media and entertainment industry touched $19 billion in 2020 down from an expected $22 billion, but it’s poised to grow up to $100 billion by 2030, said The Walt Disney Company India and Star India, president, K Madhavan. This goal is ambitious and challenging but not impossible, he added.
Madhavan was speaking at the Confederation of Indian Industry (CII) SummitFX – Global AVGC and Immersive Media Summit, which began virtually on Tuesday. “The pandemic forced the M&E industry to adapt, but it is still growing and that is an encouraging sign. There have been changes in the habits of audiences, in the way content is produced and new and evolved methods of distribution”, said Madhavan, who is also the chairman of the CII National Committee on media and entertainment.
Over 55-60 million Indians subscribed to video-on-demand services, more than doubling from the 23 million in 2019.The paid subscribers are likely to grow to 89 million by the end of 2021, and reach 150 to 160 million by the end of the decade, contended Madhavan.
“The rise of digital subscription did not lead to a fall in TV viewing audience” he noted, adding that there are 300 million households out of which only 200 million are connected to TV. There are 120 million pay TV households.
In a developed country, the media and entertainment industry generally contributes three per cent to the country’s GDP. In India, however, the contribution is one per cent. Also, customers in developed countries spend $7-10 for entertainment whereas in India it is less than $1. The pricing in India is very customer friendly, he noted.
Speaking about the animation, visual effects, gaming and comics (AVGC) industry, he said, “The global market for AVGC industry is close to $260 billion and India’s share of that is less than one per cent i.e., $2.1 billion. The AVGC industry in India has the highest potential to grow and we should aim for a five per cent share of the global market with annualised growth at 25-30 per cent.”
Similarly, the global gaming market is pegged at $160 billion worth more than music and movies combined. Online gaming in India has grown by leaps and bounds and last year there were 360 million gaming audiences and 17 million viewership of esports in India. “The gaming and esports industry are still in infancy and need freedom to grow without conflicting regulation. The Indian AVGC industry can be a global success story for India, the same as the IT revolution,” said Madhavan. “The emerging esports landscape is projected to grow at 36 per cent CAGR over the next few years.”
The Star India president also charted a roadmap for India to capture five per cent of the global AVGC market. Currently, 65 per cent of India’s AVGC revenues come from exports. Madhavan emphasised that we need to create B2B opportunities in the country. Policymakers, regulators and industry must work together for ease of doing business. There should be convergence initiatives between technology and the creative sector.
“There’s a huge demand for VFX and animation, globally and in India but we are not in a position to deliver” he said. To make this happen, job creation in this sector must increase by three to four times in the next four to five years. “We have 400,000 engineers graduating every year, but they need to be trained properly and brought into the content pipeline. There must be regional content creation and distribution hubs in Tier II and III cities.”
“I’m sure this industry will thrive with innovation,” he summed up.
eNews
How short, addictive story videos quietly colonised the Indian smartphone
A landmark Meta-Ormax study of 2,000 viewers reveals a format that is growing fast, paying slowly and consumed almost entirely in secret
CALIFORNIA, MUMBAI: India has a new entertainment habit, and it arrived without anyone really noticing. Micro dramas, those short, cliffhanger-driven episodic stories built for the smartphone screen, have quietly embedded themselves into the daily routines of millions of Indians, discovered not by design but by algorithmic accident, watched not in living rooms but in bedrooms, on commutes and in the five minutes before sleep.
That, in essence, is the finding of a sweeping new audience study released by Meta and media insights firm Ormax Media at Meta’s inaugural Marketing Summit: Micro-Drama Edition. Titled “Micro Dramas: The India Story” and based on 2,000 personal interviews and 50 depth interviews conducted between November 2025 and January 2026 across 14 states, it is the most comprehensive study of the category in India to date, and its findings are striking.
Sixty-five per cent of viewers discovered micro dramas within the last year. Of those, 89 per cent stumbled upon the format through social media feeds, primarily Instagram and Facebook, without ever searching for it. The algorithm did the heavy lifting. Discovery, as the report puts it bluntly, is algorithm-led, not intent-led.
The typical viewer journey begins with accidental exposure while scrolling, moves through a cliffhanger-driven incompletion hook that makes stopping feel unfinished, and is reinforced by algorithmic repetition until habitual consumption sets in. Only then, when a platform asks for an app download or a payment, does the viewer pause. Trust, not content quality, determines what happens next, and many simply return to the free feed rather than pay. It is a funnel with a wide mouth and a narrow neck.
The numbers on consumption tell their own story. Viewers spend a median of 3.5 hours per week watching micro dramas, spread across seven to eight sessions of roughly 30 minutes each, peaking sharply between 8pm and midnight. Daytime viewing is snackable and low-commitment, squeezed into morning commutes, work breaks and coffee pauses. Night-time is where the format truly lives: private, uninterrupted and, for many viewers, socially invisible. Ninety per cent watch alone, compared to just 43 per cent for long-form OTT content. Half the audience watches during their commute, well above the 37 per cent figure for streaming platforms, a direct reflection of the format’s low time investment advantage.
The audience itself breaks into three segments. Incidental viewers, comprising 39 per cent of the total, are passive consumers who stumble in and rarely seek content actively. Intent-building viewers, the largest group at 43 per cent, are beginning to form habits and seek out episodes but remain cautious. High-intent viewers, just 18 per cent, are the ones who download apps, tolerate ads and occasionally pay: skewing male, younger and urban.
What audiences want from the content is revealing. The top three genres are romance at 72 per cent, family drama at 64 per cent and comedy at 63 per cent, precisely the same top three as Hindi general entertainment television. The format rewards emotional familiarity over complexity. Romance in particular thrives because it demands low cognitive investment, needs no elaborate world-building and plays naturally into the private, pre-sleep viewing window where inhibitions lower and emotional intimacy feels safe.
The most-recalled shows, led by Kuku TV titles such as The Lady Boss Returns, The Billionaire Husband and Kiss My Luck, share a common narrative DNA: rich-poor conflict, hidden identities, power imbalances, melodrama and cliffhangers that make stopping feel physically uncomfortable. Predictability, the research warns, is fatal. Each episode must re-earn attention from scratch.
The terminology question is telling. Despite the industry’s embrace of the phrase “micro drama,” viewers have not adopted it. They call the content “short story videos,” “short dramas,” “reels with stories” or simply “serials.” One respondent from Chennai said bluntly that “micro sounds like a scientific word.” The category is at the stage that OTT occupied in 2019 and podcasts in the same year: widely consumed, poorly named and not yet crystallised in the public imagination.
Platform awareness remains alarmingly thin. Only three platforms, Kuku TV at 78 per cent, Story TV at 46 per cent and Quick TV at 28 per cent, have crossed the 20 per cent awareness threshold. The rest languish in single digits. This creates a trust deficit that directly throttles monetisation: viewers who cannot remember which app they used are hardly primed to enter their payment details.
Yet the appetite is clearly there. Sixty-five per cent of viewers watch only Indian content, drawn by the TV-serial familiarity of the storytelling, the comfort of Hindi as a shared language and the sight of actors they half-recognise from decades of television. South languages are rising fast: Tamil, Telugu and Kannada together account for 24 per cent of first-choice viewing. And AI-generated content, still a novelty, has landed better than expected: 47 per cent of viewers call it creative and unique, with only 6 per cent actively rejecting it.
Shweta Bajpai, director, media and entertainment (India) at Meta, called micro drama “a category that is rewriting the rules of Indian entertainment,” adding that the discovery engine being social distinguishes this wave from previous content formats. Shailesh Kapoor, founder and chief executive of Ormax Media, was characteristically measured: the format, he said, is showing “the early signs of becoming a distinct content category” and, given how closely it aligns with natural mobile behaviour, “has the potential to scale very quickly.”
The format’s fundamental mechanics are working. It enters lives quietly, through boredom and a scrolling thumb, and burrows in through incompletion and habit. The challenge now is monetisation: converting a category of highly engaged but deeply anonymous viewers into paying customers who trust the platform enough to hand over their UPI credentials. The story, as any micro-drama writer knows, is only as good as the next cliffhanger. India’s platforms had better have one ready.
